Yeah, it is. There's a boom of cheap DVD's here in CR, in newspapers and so. It seems the perfect solution: it keeps people from pirating the films, because why make copies when you get the original for the price of renting it? And you get these little treasures like SW's, because the DVD's come out every week and the companies are looking for new and new films to issue. Sometimes you get no bonus material. But sometimes you get even that.EDIT: It's usually only in paper covers. That's one way to keep the prize down. And it seems it's still worth it for the companies, because people really buy them and it's already been maybe two years of this practice.

« Last Edit: June 01, 2008, 01:26:31 PM by marmota-b »

Logged

There are two kinds of films in this world:those which stay,even when their genre is forgotten,and those which don't.

I've just seen Nobody's the Greatest. And I'm even more confused than after watching MNIN.

You shudda put this on a new thread Marmota naughty,naughty!

Yep it is confusing and requires further viewing but this movie has really grown on me.Terence Hill's goofy antics are always enjoyable as is Morricones infectious compositions.The underlying ecological and plight of the Native American themes predate some of the 1990's westerns and i love the feelgood factor of this film.

Isn't there a scene in MNIN where Nobody slams somebody in the head repeatedly with some big and spinning thing? Well, I just watched Billy Wilder's Irma la Douce (1963) and there's a scene where Jack Lemmon fights with a pimp in a bar and slams his opponent just in the same fashion as Nobody, only this time with a spinning lamp that hangs from the ceiling. If it wasn't MNIN, then what movie was it? I'm sure it's a SW (most probably staring Terence Hill).

I posted this over at the SWDB but sadly most people didn't seem to care . Thought I'd see if anyone here was interested...

The question of how much input Leone had on this movie has been discussed many times and will probably never be resolved. So, if to many this is tantamount to flogging a dead horse, my apologies. In any case, here’s my take on things…

I submit that just by watching the movie there are several sequences that are unmistakably dominated by Leone’s artistic hallmark and were definitely not directed by Valerii:

1. The fairground sequence up to Hill’s entry into the Saloon.2. The train station sequence centered around the urinal scene but also including the gold being loaded on to the train and Hill riding up on his horse before hand, and the train leaving with Hill as the driver at the end of the sequence.3. The shots concerning Hill and the train during and preceding Valerii’s direction of Fonda’s stand against the Wild Bunch.

Two other sequences bear flickers of Leone style which is confirmed by external evidence:

1. The Saloon sequence with the shattering glasses (as confirmed by Neil Summers in “Westerns all’italiana” #26).2. The final duel (as confirmed by photographic evidence of Leone helping Valerii in Frayling’s book “Sergio Leone”).

The rest of the movie, I submit was Valerii’s work. In particular, aside from being a send-up of the introduction to “Once Upon a Time in the West”, the introduction at the barber’s shop, which Leone in Simsolo’s “Conversations avec Sergio Leone” claims to have directed himself, bears none of the Leone hallmarks at all. Nevertheless, even when Leone was in Italy while Valerii was shooting in America, Leone was clearly breathing down Valerii’s neck throughout; the situation seems very reminiscent of the role that several people assume Albert Band to have played over Corbucci in “The Hellbenders”.